Subverting Syntax: Experimental narratives from the Post-Lingnan School of Painting

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Subverting Syntax: Experimental narratives from the Post-Lingnan School of Painting

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Author(s): Racelar Ho , Sarah Vollmer , Xiaolong Zheng

Publication date (Print): July 2024

Conference name: Proceedings of EVA London 2024 (EVA 2024)

Conference theme: Since 1990, the EVA London Conference has established itself as one of the United Kingdom’s most innovative and interdisciplinary conferences in the field of digital visualisation. The papers and abstracts in this volume cover areas such as the arts, culture, heritage, museums, music, performance, visual art, and visualisation, as well as related interdisciplinary areas, in combination with technology. The latest research and work by early career researchers, established scholars, practitioners, research students, and visual artists, can be found in this volume, published in full colour.

Conference date: 8–12 July 2024

Keywords: Post-Lingnan School of Painting, Lingnan School and post/Neo-Lingnan School, Meta-reflective imagery, Reflective, imagery, Meta-pictures, Hyperion, Subverting syntax, Biological intelligence, Artificial intelligence

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Abstract

Post-Lingnan School of Painting (PLSP), an artistic project deeply embedded in both research and praxis, enjoys the endorsement and support of the Memorial Hall of Lingnan School of Painting. As an extension of the Post-Bits Human Universe (PBHU), an ever-evolving interdisciplinary art initiative, PLSP stands as an experimental foray that transcends conventional visual and aesthetic boundaries. It simultaneously upholds the core artistic tenets of the Lingnan School of Painting and its contemporary successor, the post/Neo-Lingnan School of Painting. This is achieved through the adoption of multifarious and pioneering methods. This project is composed of a multifaceted combination of forms and media. It harnesses artificial intelligence and computer vision algorithms, diverging from traditional paradigms by prioritising CPUs for generating art that resonates with a dynamic, natural flow. This innovative approach disrupts pre-existing perceptions through a reconceptualization of algorithmic art and the incorporation of semantic models, which vivify historical scrolls with an evolving narrative. PLSP also shows its radical stance in the real world by turning e-book readers into modern digital canvases. These canvases show a transformative mix of digital and traditional art, based on post-humanist ideas and a dedication to the ongoing development of artistic expression. In the coming March, PLSP will be exhibited as part of the first exhibition after the recent renovation of the Memorial Hall. This exhibition, a confluence of artistic revival and commemoration of the Lingnan School, will also mark the momentous occasion of the 114th anniversary of the birth of one of its legendary artists, Li Xiongcai. PLSP, thus, stands as a manifesto of the Lingnan School and PBHU for the future, proclaiming its commitment and determination to the continuous development of its artistic and aesthetic expression and intellectual and spiritual legacy of transcending beyond ideological shackles and bracing inventiveness in the age of intense confrontation and rapid integration between artificial and natural intelligences, as well as diverse cultures.

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Racelar Ho

Sarah Vollmer

Xiaolong Zheng

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Publication date: July 2024

Publication date (Print): July 2024

Pages: 85-93

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[0001]York University

Independent Various Art Space

Toronto, Canada

[0002]Guangxi Normal University

Independent Various Art Space

Guangxi, China

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DOI: 10.14236/ewic/EVA2024.14

SO-VID: ca68d9a7-0f86-4ec0-abb7-a587a333ce2c

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This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: Proceedings of EVA London 2024

Conference acronym: EVA 2024

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Conference location: London

Conference date: 8–12 July 2024

Conference sponsor: Electronic Workshops in Computing (eWiC)

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1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2024.14

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

胡斌 Bin H. (2009) 岭南画派 “兴衰起止”问题的论争与当代广东中国画坛的心态 [Debate on the Lingnan School of Painting’s “Rise and Fall” and the Mentality of Contemporary Chinese Painting Circles in Guangdong Province], 吉林艺术学院学报 Journal of Jilin College of the Arts, 4, pp. 51-54.
Curtis, N., ed. (2011) Art and Revolution in Modern China: The Lingnan (Cantonese) School of Painting, 1906-1951. University of California Press, Chicago, US.
王槩 Gai W. (1701) 芥子園畫譜 - 花鳥譜【二】| Jie zi yuan hua pu - Huaniao pu II, China.
王璜生 Huangsheng W., 李正天 Zhengtian L., 陈映欣 Yingxin C., 李伟铭 Weiming L., 刘子建 Zijian L., 鲁虹 Hong L., 黄一瀚 Yihan H., 周湧 Yong Z., 石果 Guo S., 罗一平 Yiping L., 马文西 Wenxi M., 方土 Tu F., 苏小华 Xiaohua S., 李劲堃 Jingkun L., 郑强 Qiang Z., 左正尧 Zhengyao Z., 卢小根 Xiaogen L., 陈泱 Yang C. (2002) “现象： ‘后岭南’与广东新水墨”研讨会纪要 [Summary of Seminar on “Phenomenon: ‘the post-Lingnan School’ and Cantonese New Ink Painting”].广东美术馆（Guangdong Museum of Arts). https://www.gdmoa.org/exhibition/Exhibitions/2002/xgwd_2002_384/200710/t20071025_5054.shtml.
Ho, R., Vollmer, S., Zheng, X. (2023) 24/7 Worldlessness of Post-Bits Human Universe: Asynchronous Signal Transmutation. In: Bowen, J.P., Weinel, J., Diprose, G. (eds) (2023) EVA London 2023: Electronic Visualisation and the Arts, pp. 193-200. doi: 10.14236/ewic/EVA2023.34
Ho, R., Zheng, X. (2022) The Post-bit Human Universe: An Experiment on the Evolutionary History of Human-Posthuman Relations. In: Bowen, J.P., Weinel, J., Borda, A., Diprose, G. (eds) (2022) EVA London 2022: Electronic Visualisation and the Arts. doi:10.14236/ewic/EVA2022.28
高劍父 Jianfu G. (1955) 我的現代國畫觀 [My View on Modern National Painting]. 原泉出版社 (Yuanquan Chubanshe), Hongkong, China.
Mitchell, W. J. T. (1995a) Picture Theory: Essays on Verbal and Visual Representation. Routledge, London, UK.
Mitchell, W. J. T. (1995b) 1. The Pictorial Turn. Picture Theory: Essays on Verbal and Visual Representation. Routledge, London, UK.
Mitchell, W. J. T. (2022) 元图像：图像及其理论话语 [Metapictures: Images and the Discourse of Theory]. 上海人民出版社 (Shanghai People’s Press), Shanghai, China.
李伟铭 Weiming L. (1997) 后岭南画派:新的文化心理时空 [The post-Lingnan School of Painting: A new time and space of cultural psychology], 粤海风 (Journal of Yuehaifeng), 1, 4.
黄一瀚 Yihan, H. (1997) 多元、综合的“状态”中国画实验区——后岭南画派 [Pluralistic and comprehensive “state” Chinese National Painting experimental erea—the post-Lingnan School of Painting], 当代艺术 (Journal of Contemporrary Art/Dangdai Yishu), 14.
陈映欣 Yingxin C. (2002) 多元与同一：策展随笔 [Diversity and Identity: Essays on Curatorial Exhibition]. 广东美术馆 (Guangdong Museum of Arts), Guangzhou, China. https://www.gdmoa.org/exhibition/exhibitions/2002/xgwd_2002_384/200710/t20071025_5055.shtml

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[1] 胡斌 Bin H. (2009) 岭南画派 “兴衰起止”问题的论争与当代广东中国画坛的心态 [Debate on the Lingnan School of Painting’s “Rise and Fall” and the Mentality of Contemporary Chinese Painting Circles in Guangdong Province], 吉林艺术学院学报 Journal of Jilin College of the Arts, 4, pp. 51-54.

[2] Curtis, N., ed. (2011) Art and Revolution in Modern China: The Lingnan (Cantonese) School of Painting, 1906-1951. University of California Press, Chicago, US.

[3] 王槩 Gai W. (1701) 芥子園畫譜 - 花鳥譜【二】| Jie zi yuan hua pu - Huaniao pu II, China.

[4] 王璜生 Huangsheng W., 李正天 Zhengtian L., 陈映欣 Yingxin C., 李伟铭 Weiming L., 刘子建 Zijian L., 鲁虹 Hong L., 黄一瀚 Yihan H., 周湧 Yong Z., 石果 Guo S., 罗一平 Yiping L., 马文西 Wenxi M., 方土 Tu F., 苏小华 Xiaohua S., 李劲堃 Jingkun L., 郑强 Qiang Z., 左正尧 Zhengyao Z., 卢小根 Xiaogen L., 陈泱 Yang C. (2002) “现象： ‘后岭南’与广东新水墨”研讨会纪要 [Summary of Seminar on “Phenomenon: ‘the post-Lingnan School’ and Cantonese New Ink Painting”].广东美术馆（Guangdong Museum of Arts). https://www.gdmoa.org/exhibition/Exhibitions/2002/xgwd_2002_384/200710/t20071025_5054.shtml.

[5] Ho, R., Vollmer, S., Zheng, X. (2023) 24/7 Worldlessness of Post-Bits Human Universe: Asynchronous Signal Transmutation. In: Bowen, J.P., Weinel, J., Diprose, G. (eds) (2023) EVA London 2023: Electronic Visualisation and the Arts, pp. 193-200. doi: 10.14236/ewic/EVA2023.34

[6] Ho, R., Zheng, X. (2022) The Post-bit Human Universe: An Experiment on the Evolutionary History of Human-Posthuman Relations. In: Bowen, J.P., Weinel, J., Borda, A., Diprose, G. (eds) (2022) EVA London 2022: Electronic Visualisation and the Arts. doi:10.14236/ewic/EVA2022.28

[7] 高劍父 Jianfu G. (1955) 我的現代國畫觀 [My View on Modern National Painting]. 原泉出版社 (Yuanquan Chubanshe), Hongkong, China.

[8] Mitchell, W. J. T. (1995a) Picture Theory: Essays on Verbal and Visual Representation. Routledge, London, UK.

[9] Mitchell, W. J. T. (1995b) 1. The Pictorial Turn. Picture Theory: Essays on Verbal and Visual Representation. Routledge, London, UK.

[10] Mitchell, W. J. T. (2022) 元图像：图像及其理论话语 [Metapictures: Images and the Discourse of Theory]. 上海人民出版社 (Shanghai People’s Press), Shanghai, China.

[11] 李伟铭 Weiming L. (1997) 后岭南画派:新的文化心理时空 [The post-Lingnan School of Painting: A new time and space of cultural psychology], 粤海风 (Journal of Yuehaifeng), 1, 4.

[12] 黄一瀚 Yihan, H. (1997) 多元、综合的“状态”中国画实验区——后岭南画派 [Pluralistic and comprehensive “state” Chinese National Painting experimental erea—the post-Lingnan School of Painting], 当代艺术 (Journal of Contemporrary Art/Dangdai Yishu), 14.

[13] 陈映欣 Yingxin C. (2002) 多元与同一：策展随笔 [Diversity and Identity: Essays on Curatorial Exhibition]. 广东美术馆 (Guangdong Museum of Arts), Guangzhou, China. https://www.gdmoa.org/exhibition/exhibitions/2002/xgwd_2002_384/200710/t20071025_5055.shtml

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Subverting Syntax: Experimental narratives from the Post-Lingnan School of Painting

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